There’s a warmth to the film that cuts through its disillusion with the industry that created it.
The film uses the Minions to smuggle in a message about the enduring power of cinema.
This is an overtly political film that’s hesitant to express its own political views.
There’s pleasure to Nouvelle Vague’s winking affection for Godard’s Breathless.
Eastwood’s film casts a morally inquiring side-eye at the American legal system.
The unendurable passage of time haunts both plays.
Not Okay doesn’t make any points that, now over a decade into the ubiquity of social media, aren’t painfully obvious.
The Outfit is a dapper, twist-filled crime story that relies more on dialogue than gunplay to move the action.
The filmmakers allow their characters to learn the usual humanist lessons, in the process eliding the ramifications of their scenario.
Behind the film’s self-awareness and irony is a hollow emotional core.
The series nearly approaches farce as its shocking developments pile up, defying reality and credulity.
The film goes down easy because it saves the self-improvement clichés for the homestretch.
Madelyn Deutch’s songs, ironically, obfuscate the allure and richness of her character and performance.
Flower is a sentimental work of faux nihilism, pandering to children who’re just discovering alienation.
It perfectly communicates the surreal hell of what the original production of The Room must have been like.
Danny Strong’s film suggests dramatic Tetris, and it leeches J.D. Salinger and his process of any mystery.
Its gory conclusion is presented with an ostentatious grandiosity that the rest of the film simply doesn’t justify.
Before I Fall spouts tired platitudes about the value of altruism and living each day as it if were the last.
The film is amiable thanks to the commitment of its lead actors and its refusal to condescend to its characters.
Linklater’s rowdy, sensual party odyssey is accorded a sturdy transfer that’s in dire need of a few evocative extras.